An important part of United States history, frequently neglected in recounting “the big picture,” is the part played by the Tuskegee Airmen in the ultimately successful conclusion of World War II.

A small segment of this part is the subject of “Black Eagles,” a play by Leslie Lee directed by Deb Swerman, which opened Friday evening in South Bend Civic Theatre’s Barbara K. Warner Studio Theatre.

Using the flashback format as the framework for the story (based on fact) of dedicated airmen who studied and trained at Alabama’s Tuskegee University Air Field, the action begins in Washington, D.C. at a 1989 reunion of pilots from the 99th Fighter Squadron.

After a little backslapping and a few ”can you top this” reminiscences by older veterans Clark (Rev. Terrell A/ Jackson), Nolan (Charles Payne) and Leon (David Smith), it shifts to 1944 Italy where their counterparts, the same-but-young — and understandably frustrated — pilots are stationed and chomping at the bit to see some real killing action.

Their assignments as pursuit pilots, escorting white bomber crews to their targets with orders to stay with them no matter what, leave the young airmen ready to undertake any challenge in order to see a bit of actual action.

Exacerbating this is the fact that the Army Air Corps, as indeed all the military forces, was segregated. What was true at home was true in the service and, in spite of several declarations made by the pilots, nothing would change in their immediate future.

As they wait for news of their next assignment, the six pilots — Clarke (SSG. SSteven Wilbur), Roscoe (Ben Little), Nolan (Eric Ways), Buddy (Anderson Chimutu), Leon (Kenneth Taylor) and Othel (DeLorean Gammage) — share hopes, dreams and realities. Since this is a diverse group, the friction level also rises, even about such obviously unrealistic topics as which one is Lena Horne’s boyfriend.

When the opportunity to become fighter pilots and each gets a “kill,” their enthusiasm is understandable. The brief look at the relationship between Buddy and Pia (Mahaffa Tompson), an Italian girl, seems extraneous.

The script does not offer many looks at why each man became a pilot or where he hopes to go when the war is over or what his family is like. What little backstory there is is supplied by the actors themselves, some SBCT veterans and some newcomers.

All acquit themselves well with special applause to Little who not only plays Roscoe but Julius, the pilot’s ventriloquism dummy and the focus of much of the play’s humor.

The awkward atmosphere that arises when two white pilots, Dave (Cam Matteson) and Roy (Miller), drop in to meet the men they have heard so much about, eventually vanishes incrementally with each gulp as they share a bottle of cognac.

It is a difficult scene to make real, especially in the close quarters of the black box theater, and it is to the credit of the company that it feels very natural.

The entrance of General Lucas (Curt Goodrich) with a paper listing the rules of segregation definitely is a major disruption. In spite of his command, the black pilots refuse to sign. The white pilots silently slip away.

Nothing had changed and would not begin to for several years until President Truman signed an executive order aimed at ending military segregation.

But, as the Tuskegee airmen must have known, that was only the beginning. It may have become better in the military but the struggle for equality was barely begun in 1944 and continues today.

The necessity of learning and relearning this lesson is underscored by the trials of these Black Eagles.

BLACK EAGLES plays through Aug. 20 in the studio theater at 215W. Madison St. , South Bend. For performance times and reservations, call (574) 234-1112.

Last Updated on Sunday, 13 August 2017 21:00

Sondheim + WW = Musical Theatre Magic

Written by Marcia Fulmer

Friday, 11 August 2017 16:25

Warsaw’s Wagon Wheel Theater has led the pack this summer with a lineup of widely varied productions, all beautifully done.

Now, in the final show of the scheduled season, it seems it has saved the best for last.

It is no secret that my very favorite musical theater composer is Stephen Sondheim. I would, in fact, go miles to see/hear anything with which he is connected..

I have a Top Five list of favorites, at the very top of which (or, at least , in the number two spot) is ‘Into The Woods,” Sondheim’s version of fractured fairy tales, a collaboration with playwright James Lapine.

Not only is it a brilliant blending of familiar childhood favorites, but it is filled with a wildly weird assortment of characters, melodies that will not leave your head and a solid list of words — or phrases — to live by.

It also echoes everyone’s hope of getting through life’s darkest woods to find a happily ever after.

Being so committed to this piece, I approach every production with hope and fear. Hope that it will at least come close to my expectations and fear that it will not.

The minute we walked into the Wagon Wheel Theatre Wednesday evening, I knew the next few hours would exceed my highest expectations.

And I was right!!

Even before the music begins (and director Thomas N. Sterling and his always-excellent orchestra more than do justice to the intricate score), even before that, there is the jaw-dropping set by Ray Zupp (“Young Frankenstein,” “The Addams Family”) that leaves you standing in the lobby, staring over the seats and anxious to get a closer look.

I would say you have to see it to believe it, but…well, you really do! And that’s just the beginning!

The orchestra goes into the pit, announcements are made and the lights finally fade, to rise again on the woods and the inhabitants of its outlying areas:

And no one who goes into the woods, comes out of the woods unchanged (or alive).

Put them all together and they make a formidable vocal ensemble, and ensemble work a la Sondheim is nothing if not formidable. Not only do they make it sound easy but, in spite of overlapping melodic lines and lyrics, quite easily understood.

Each of the major players has his/her share of solos and each delivers beautifully! Kira Lace Hawkins (who I now believe can do anything!) is completely unfazed by her opening speed-singing rap, her poignant duet with Ziringer and, of course, her show-stopping “The Last midnight.” And she definitely knows how to make an exit!!!

Britt is a pleasure to listen to in solo or duet and creates a no-nonsense wife who seeks motherhood but, yearning for a bit of romance, finds more than she bargained for.

O’Malley is a delightful Red Riding Hood, skipping into and around danger with naïve abandon., never mind that the Big Bad Wolf is on her trail. As the seductive Wolf, Ahlers sheds his fur to become Cinderella’s Prince and, with Bradley, shares my favorite double duet, “Agony,” which hilariously nails the shifting fancies of princes.

Bojewski and McFarland have wonderfully rich and strong baritone voices that audibly mark their changes from awkward young men to adult males, determined to come out of the woods on the right paths. It is easy to empathize with their journeys.

Frazier carries the strong narrative and shifts personas slickly to add to the overall mystery and Kathy Hawkins proves that, in or out of the woods, mothers are the same.

Must give applause to Robison. Never seen out of costume, and without singing a note, she gives a great deal of character and personality to long-suffering Milky White.

As always, Stephen R. Hollenbeck’s costumes are the icing on this cake, especially in facilitating the Witch’s transformation. Crowning Hollenbeck’s costumes are Dow’s varied (and secure) wigs, which here help the Witch regain youth and beauty.

“Into The Woods” is directed and choreographed (and the last includes a lot more than dancing here) by WW artistic director Scott Michaels, who continues to set the standards so high they would stop a lesser artist. Michaels just sails right over them!

Behind him — or beside him — are lighting designer Patrick Chan, who seems able to create fantasy with the flick of a switch,; sound designer Chris Pollnow, who supplies the balance between singers and instrumentalists; technical director Jacki Anderson, who makes sure all circuits are clear; production manager Mike Higgins and production stage manager Nick Voight, who is in charge when the lights go up.

Along with their respective crews, they create magic every two weeks of the summer in Warsaw.

Do not miss this one!!

INTO THE WOODS plays through Aug. 19 in the theater at 2517 E. Center St. in Warsaw. For performance times and reservations, call (574) 267-8041.

Last Updated on Friday, 11 August 2017 16:44

Classic Drama Alive Today at Wagon Wheel

Written by Marcia Fulmer

Saturday, 29 July 2017 20:34

Midway in the annual summer theatrical season of music and dance and a lot of happy endings, the Wagon Wheel Theatre offers a change of pace with a classic American drama/tragedy that should be at the top of everyone’s “must-see” list. In making Arthur Miller’s “The Crucible” a part of its regular 2017 lineup, artistic director Scott Michaels was aware that it was a risk, but risk-taking has never deterred the award-winning director or the team of actor/directors Ben Dicke and Andy Robinson, whose annual behind-the-scenes effort is usually a comedy. Their determination has paid off in more ways than one. Not only is this production theater at its best and, in a dark way, incredibly entertaining, but it offers some of the best of this year’s company challenging roles, challenges to which they rise with naturalistic ease — even those with the most villainous assignments

For those who may not know, “The Crucible” combines historical fact and artistic license in telling the horrendous story of the 17th century Salem (Mass.) witch trials. Playwright Miller admitted his Tony Award-winning play was an allegory for McCarthyism, but — listen. It is chilling how close 1953 was to 1692-93 and to the present day. It begins with Betty Parris (Cordelia Grandon) 8-year-old daughter of the Salem pastor, the Rev. Samuel Parris (Ben Ahlers) in a faint from which she rises only to scream. Parris demands to know what she was doing in the woods at night with a group of other young girls.

The answer is dancing, which Parris interprets as witchcraft. It results in the girls hiding their late-night outing by naming many others as witches. Led by Abigail Williams (McKenzie Kurtz) the accusations spread and result is the arrest, “questioning” and eventual hanging of many of the good people of Salem and surrounding villages.

Abigail eventually accuses Elizabeth Proctor (Kira Lace Hawkins), wife of John Proctor (Riley McFarland), with whom Abigail had an affair. Elizabeth is questioned in her home by Reverend John Hale (Blake R. Bojewski), a reported expert on witchcraft.

As the list of accused lengthens, Deputy Governor Danforth (Mike Yocum) arrives to serve as judge. Slowly even the initial accusers become aware of the false charges but, once Danforth is on the bench, innocence is irrelevant and guilt is proven by the flimsiest proof and events attributed to “unnatural forces” and the fact that the accusers are “inno ent children.”

The final blackout offers some hope that the mass hysteria will subside and, finally, disappear. It eventually did, but its shadows remain and, even today, unhappily return in force. Wagon Wheel season ticket holders may be those most aware of the excellent 2017 cast, having seen each in an extremely wide variety of roles. Even first-timers in the audience, however, will be unable to miss the richness of the performances. Must first credit the primary players — Ahlers, Bojewski, Hawkins, Kurtz, McFarland, Yocum and Allsun O’Malley. The last was Mary Warren, the Proctors’ maid, who agreed to tell the truth then fell back under the spell of Abigail Williams. The danger of even the slightest accusation was made obvious by Giles Corey (Michael Bradley) whose questions about books his wife was reading led eventually to her going to the gallows. The directors’ decision to use hymns, sung acapella by the gathering ensemble, works beautifully throughout to smoothly underscore the fatal role religion played in the outcome of the witch trials. The spare set, a raked platform seemingly constructed of wooden planks, was designed by technical director Jacki Anderson. It sets the mood immediately as do Stephen R. Hollenbeck’s earth-toned costumes. The excellent lighting design by Fritz Weaver makes one always aware of the dangers hidden in the shadows. THE CRUCIBLE plays through Aug. 5 in the theater at 2517 E. Center Street in Warsaw. For performance times and reservations, call (574) 267-8041.

Last Updated on Saturday, 29 July 2017 21:50

Newsboya Fight The System In 'Newsies'

Written by Marcia Fulmer

Thursday, 10 August 2017 16:00

There’s not a princess in sight as “Newsies” bursts on to the stage of The Barn Theatre where the Disney musical opened Tuesday evening.

Instead the maximum energy is supplied by a bunch of feisty ragamuffins, all ready to sell the day’s copy of the New York World. Lest the audience expect pastels (from Disney), everything is in varying shades if brown, black and grey.

Lining up to buy their daily allotment (for resale to the public), the newsboys are led by Jack Kelly (Jonnie Carpathios), who shares his dreams of going to “Sante Fe” with his crippled best friend and fellow newsboy Crutchie (Justin M. Roth).

The story of their fight for fair treatment — and money — is based on an actual 1899 newsboys strike in New York City — plus a little romance thrown in because, after all, it is a Disney show, complete with music by Alan Menken, lyrics by Jack Feldman and book by Harvey Feldstein.

“Newsies” seems to be the musical of choice this summer, even though it is based on a 1992 film that became a Broadway musical in 2012 and there is, of necessity, very little color in set and costumes.

Except, of course, for the scenes in a vaudeville theatre where headliner Medda Larkin (Samantha Rickard) is a friend for whom Jack paints backdrops.

The jet propulsion in this Disney’s “Newsies” is supplied by the ensemble of urchins who leap, stamp, holler and, at one point, tap like mad, at the drop of a tear sheet (“Carrying the Banner”).

With choreography by James Gresham, who is also a newsboy, the crowd of energetic urchins tears up the boards at the drop of a penny and was received with sustained cheers throughout the 2 ½ hour performance.

Jack’s love interest is supplied by Katherine Plumber (Kasady Kwiatkowska), an aspiring lady journalist who has her own agenda.

His right hand newsboy is Davey (Nick Barakos) who, with his younger brother Les (Brandon Davis/Henry Dunn — it doesn’t say which one is playing which performance), doesn’t fit the orphan code of the newsboys — they have both parents.

When World owner Joseph Pulitzer (Richard Marlatt), (yes, the Pulitzer Prize Pulitzer!), decides to raise the newsboys cost from 50 to 60 cents per 100 in order to increase circulation (“The Bottom Line”), Jack instigates a strike (“Seize the Day”).

Strikebreakers and police break up the rally and the end finds Crutchie in The Refuge, a juvenile detention center run by the evil Warden Snyder (Charlie King).

Will Jack rescue his friend, defeat the capitalist and win the girl?

If you can’t answer that, you don’t know Disney.

With an unflagging energy that seems never to lessen, Carpathios is indeed the focal point of “Newsies”, but the actual highlights are the equally unflagging newsboys.

On and off the stage and every available table and chair, up and down auditorium aisles and the on-stage stairways of scenic designer Samantha Snow, they accomplished every move with observable glee.

Vocally, their blend was solid and frequently moving.

Among the principals, with the exception of Roth, all seemed inclined to push, frequently resulting in rather unpleasantly harsh tones. This may resolve itself as performances go on and the balance between singers and instrumentalists evens out.

There is no doubt that everyone was doing his/her duty in “Newsies,” even director Hans Friedrichs was called into action. Of course making sure he never relinquished command, he is playwright Fierstein’s deus ex machina — the man on the white horse who saves the day — President Teddy Roosevelt.

Diisney’s “NEWSIES” plays through Aug. 20 in the theater on M96 in Augusta, MI. for performance times and reservations call (269) 731-4121.

Last Updated on Thursday, 10 August 2017 16:24

TV Stars In Royal Roles At The Barn

Written by Marcia Fulmer

Wednesday, 26 July 2017 19:40

One thing to remember while watching the royal machinations of the early Plantagenets currently unfolding on stage at The Barn Theatre in Augusta, MI is that, while they could have happened, they most likely did not, especially in the format so entertainingly played out by stars Kim Zimmer and Robert Newman.

Like most historical sagas, the James Goldman drama has a basis in fact, well, semi-fact at least, and it also contains a good deal of humor, albeit 12th century humor, which makes it highly entertaining on a modern level.

Fact: King Henry II (Newman) and wife Queen Eleanor of Aquitaine (Zimmer) had one of history’s most storied love affairs, the result of which was eight children, five boys and three girls. The three living boys (times were hard in the 1100s)— Richard, Geoffrey and John — are the subjects of discussion during the Christmas celebration at Henry’s castle in Chinon, France.

The debate, at time extremely heated, circles around just who will wear the crown once Henry is no more. The king favors John (William Dunn), the youngest; Eleanor’s favorite is Richard (Jamey Gresham), the oldest; and Geoffrey (Jabri Johnson), in the middle, attachés himself to whichever brother seems to be winning — and it fluctuates rapidly and often.

Caught in the middle is Alais (Audrey Morton), half-sister of King Phillip II of France (Quinn Moran), who has been at court since her betrothal to Richard at age 8. That was 7 years ago and she has since become Henry’s mistress,

So you can see there are a lot of problems to be addressed and, hopefully, sorted out before the final candle is extinguished.

Under the direction of Brendan Ragotzy, and following the always-dynamic leading players, the flickering lights illuminate rivalries, passions and not-so-hidden secrets.

Played out on one of Samantha Snow’s best set designs (which puts the “Les Miz” turntable to excellent use), the shifting shadows of Mike McShane’s lighting plan are beautifully soft or sharp as the mood demands.

There was no doubt on Tuesday (opening night) that the audience had come to see the stars. Newman and Zimmer were paired for decades on the former CBS daytime drama ”Guiding Light” but if the aim was to see Josh and Reva “together again,” the fans were at least somewhat disappointed.

What they got instead were two detailed performances by two experienced actors who. In very short time, became — believably — the multi-layered monarchs of a kingdom in flux.

And if, in theater, familiarity breeds … whatever … it is a real pleasure to watch them work. Feinting, parrying, slashing and stabbing, they provided verbal action to a script that allowed them little chance for physicality.

Both characters admitting they had little love for their offspring, there was no doubt that the fire that brought them together was still at least smoldering, fanned by the determination to be the winner in the intricate maneuverings that would eventually result in a crown.

Henry’s bellowing and blustering is stymied at every turn by Eleanor’s muted machinations. The “boys” prove that, even then, the apples didn’t fall far from the parental trees. Gresham was stoically planted while Dunn shifted with every encounter. Johnson fought a losing battle but was difficult to hear. The same is true of Moran, the slippery sovereign who hoped to win no matter who wore the crown.

As Alais, Morton is the most sympathetic figure and drew a moving portrait of the princess who would be the loser no matter who “wins.”.

It has always been a mystery here that Henry would choose John, a whimpering, whining, cowardly teen, as his successor. Also, if Eleanor was imprisoned for 10 years for her part in the attempted overthrow of Henry in 1173, why not the same for the boys who revolted with her?

Whatever the answer, “The Lion in Winter” at The Barn offers a good chance to see a very entertaining play (historically factual or not) presented by a solid company lead by two of the area’s favorite actors.

THE LION IN WINTER plays through Aug. 6 in the theater on M96 between Galesburg and Augusta, MI. For show times and reservations, call (269) 731-4121.